Disney’s Newsies at Artistry in Bloomington Features Some Very Fancy Footwork!

Surprisingly this is my first exposure to Disney’s Newsies. When the film came out in 1992 I was in college and it just didn’t interest me, and though it’s a frequently performed show of late, the stars had not aligned until now. It’s the story of Newsies (children who sell the newspapers on street corners) in 1899 New York who strike to protest the increased cost of papers and thus their lowered earnings. Led by Jack Kelly, who once rode in a carriage with Teddy Roosevelt, and with the counsel and guidance of newcomer Davey and his little brother Les, the newsies take on Newspaper titan Joseph Pulitzer. It’s a fictionalized telling of an actual historical event that is really rather fascinating. With music by Alan Menken who’s music contributed to the 1990’s Disney animation renaissance with among others The Little Mermaid, Beauty and the Beast, and Aladdin as well as the musical Little Shop of Horrors (which coincidentally is running at the Guthrie theater through August 18th) and lyrics by Jack Feldman. With Book by Harvey Fierstein who came to prominence in the early 1980’s starring in his own play Torch Song Trilogy which won him two Tony Awards, he also did the book for Kinky Boots (which coincidentally is running at Lyric Arts through August 11th). It’s a great team and they have created a solid musical, with several stand out numbers that Artistry has staged wonderfully under the direction of Ben Bakken.

What really wowed me with this production was the choreography by Renee Guittar, the entire cast executed with precision and a rowdy sense of energy. The cast is led by Will Dusek, who recently shone as Frankie Valli in Chanhassen Dinner Theatres production of Jersey Boys, as Jack Kelly. Here he gets to put that east coast street smart persona to use again, and while the songs are quite as iconic, his performance is just as impressive. His love interest is a young reporter named Katherine, played by Audrey Parker, who gets a chance to show of her dancing skills and wonderfully matches Dusek as they argue their way into an attraction for each other. Jack’s best friend Crutchie, nicknamed such because he needs a crutch to walk, is played by Tyson Insixiengmai who has a beautiful solo song “Letter From the Refuge” that’s one of the best moments in the show thanks to their performance. Also amazing in the roles of brothers are Pierce Brown as Davey and Maddox Tabalba as Les. Brown’s less street smart but idealistic while Davey is really the heart of the play and the audiences entrance into the world, as he is new to the world of newsies. Tabalba, who’s character is nine and I would guess he’s about the same age, is fantastic in his performance and especially his dancing, really getting to show of his skills in the song “King of New York“.

The music, as is always the case at Artistry, is simply top notch under the musical direction of Kate Mariana Brown. I was pleased to see a more robust set design than we’ve seen lately at Artistry. I liked the detail and feel of 1899 New York by Scenic Designer Michaela Lochen with the huge backdrop of the Brooklyn Bridge adding a real sense of scale to the production. Completing the look were the props designed by Katie Phillips and costumes by Meghan Kent all of which help to give the show a period feel. I had a great time with this show so much that I know have an interest in finally seeing the film version, and I’m immediately planning some googling to learn more about the actual historical events that inspired the show. It’s a great cast and along with some great songs, there is some really amazing dancing for fans who like some fancy footwork with their musicals.

Disney’s Newsies runs at Artistry in Bloomington through August 11th. For more information and to purchase tickets go to https://artistrymn.org/newsies

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Rope, a Fantastic Suspense Thriller at Gremlin Theatre Featuring some Terrific Performances!

Jeffrey Nolan (RUPERT) and Jeremy Bode (GRANILLO) Photo by Alyssa Kristine Photography

Gremlin Theatre has a crackling thriller titled Rope running through August 4th. If this title rings a bell you may be thinking of the Alfred Hitchcock film which was based on this play by Patrick Hamilton. I am more than familiar with the film as Hitchcock is one of my top 10 film directors. Many of you may be saying to yourself, “I’m not sure I can name 10 directors”. In your circles that may be strange, but believe me for cineastes it’s difficult to narrow down to just 10. The film was one of Hitch’s experiments with form, he made the film with the appearance of one unbroken take. Of course in 1948, when the film was made, that was impossible as the camera could only hold 10 minutes worth of film in each cartridge. So he had to devise a way to make the cuts invisible, such as a close up on someone’s back for example. It was also Hitch’s first film to be shot in color and his first of four with James Stewart. It’s considered lesser Hitchcock by many, which means it’s better than most films, so if you enjoy the play I highly recommend it to you. There are enough changes to the script to keep even those who know the film by heart engaged. If you’ve never seen the film, the play will be a special treat. If you have there’s plenty here to recommend it, particularly two knockout performances, and very effective direction by Peter Christian Hansen.

But first an idea of what to expect. The play opens in darkness there is a faint light given off by a fireplace and we have the general lay of the land from seeing the set before the lights go down. Two characters just prior to the start of the play have murdered a man and stuffed the corpse in a trunk that sits center stage. They are Brandon and Granillo, in order to calm Granillo down, Brandon recounts what they have done and why, as well as what they have planned for the rest of the evening. The corpse’s father has been invited, along with his Aunt, for dinner and to look over some books that Brandon recently inherited. They have also invited a young woman whom they are friends with, as well as a young man, and lastly their old teacher Rupert. They have done all of this just to say they could, they kill their young friend to see what it felt like and because they feel superior to him. They invite his father and the others for the sick thrill it gives them. Rupert, they almost asked to join them in the killing based on conversations they had with him about murder and morals, but didn’t because they didn’t think he had the nerve to follow through with it. Their arrogance might be their undoing though that or the fact that Granillo isn’t quite the sociopath that Brandon is and starts to crack a little under the pressure. Only Rupert seems to be observant enough to start picking up clues, will he figure it out before it’s too late and if he does, will he join them or turn them in?

It’s a very strong cast, every role including the Servant Sabot, who is played by Matthew Saxe, has few lines and exits the play well before intermission is well cast. There are two that really stand out, the first is Coleson Eldredge as Brandon. He has the charm and charisma that are key to understanding how this character with such a lack of morality can be the popular host. When he goes toe to toe with Rupert in the final scene it’s believable that he may convince Rupert to join them. Secondly, but honestly firstly, is Jeffrey Nolan, who is the Gene Wilder or Peter Sellers of the Twin Cities stages, he plays Rupert in a turn so different from what James Stewart did with the role as to seemingly be from a different planet. It’s such a bold swing for the fences, that in the first minute or so I wondered if it was too out there, but it works, it really really works. This is the seventh performance I’ve seen Nolan give, plus I briefly chatted with him at Fringe last year, and I’ve never seen the same person twice. I know acting is becoming other people, but most actors find things within themselves to bring to a part. Nolan seems to create a distinct personality for every role and if he’s using any portion of himself between roles I’ve yet to see it. I don’t know if I was certain if he could “not” be funny, but there are moments when he is debating with Brandon at the end of the play that prove he can do anything. Maybe he can’t sing? I don’t know, but I’m curious to find out. Here’s the thing, It’s worth seeing this play just for Nolan’s performance. The great news is, even if he wasn’t in it, it’s still worth seeing.

Rope runs through August 4th at Gremlin Theatre for more information and to purchase tickets go to https://gremlintheatre.org/rope/

Romeo and Juliet, Shakespeare at the Pub From The Gray Mallard Theater Co.

Running through July 28th at Sociable Cider Werks is The Gray Mallard Theater Co.’s Shakespeare at the pub production of Romeo and Juliet. It’s free to all, best to bring your own chairs but if you get there early enough they have some provided. There is a food truck onsite and a wide range of beverages both with and without alcohol. I came to the show for two reasons, Shakespeare and Em Rosenberg, who is playing Romeo, in the production. Faithful readers will remember that Rosenberg has been on my ones to watch list for sometime now. Listeners to Twin Cities Theater Chat may remember hearing me interview them for one of our episodes around the Guthrie’s History plays in which they played multiple roles in each of the three plays. Once again Rosenberg doesn’t disappoint, headlining a very well paced production directed by Gray Mallard Artistic Director Amanda Fuller. It’s a little like a less controlled version of a Ten Thousand Things performance very bare bones in terms of costumes, props, and set, just what is needed to tell the story. It’s rough around the edges but also extremely fluid, giving it a dangerous and lively energy that works really well in this nontraditional performance space. The focus is on the performances and the language

The truest sign of a good Shakespearean actor is how well a modern audience can understand the language. A great performer will be able to communicate the text to the audience, whether we know the words or not, they will make the meaning clear. There is a lot of use of hand gestures and physical work being done to communicate the meaning of the lines and frequently bring added humor, some of it delightfully risque. There are a lot of wonderful performances starting of course with Em Rosenberg’s Romeo. I think this was my fifth Shakespeare play with Rosenberg in the cast but certainly the largest single role. They are as natural a communicator of Shakespeare’s work as I’ve ever seen, whether wooing Juliet, joking around with his friends, or shouting at the stars their performance is always captivating and precise. Caiti Fallon and Kamani Graham start the show off on the perfect note. Letting the audience know from their movements, costume, and tone of their line readings that while certainly this is a tragedy, we are still going to have some fun with this production. Alessandra Bongiardina as Juliet is a nice fit with Rosenberg’s Romeo, they have a chemistry that helps a modern audience accept some of their choices as natural responses given their connection and maturity. Davis Brinker as Benvolio comes across as one of the guys but the one with the cooler head on his shoulders, while Zach Lerner’s Tybalt and Cooper Lajeunesse’s Mercutio are entertainingly hot headed. I really enjoyed Tony Larkin and Cathleen Fuller as the lovers co conspirators Friar Laurence and the Nurse, being the two adult characters that seemed to have more than a little common sense when trying to temper Romeo and Juliet’s impulses.

A very enjoyable production of Romeo and Juliet, a fun way to spend a summer evening out of doors and you can’t beat the ticket prices. For more information about the show which runs through July 28th or to make a donation to The Gray Mallard Theater Co. go to https://bit.ly/TheGrayMallardTheaterCo

Penelope One Woman Show at Elision Playhouse

Christine Wade as Penelope. Photo by Jolie Morehouse Olson

Penelope is a a one person musical created by Alex Bechtel, Grace McLean, and Eva Steinmetz that gives us another perspective on Homer’s The Odyssey. Rather than follow Odysseus on his ten year return journey after ten years of war, we see the story from the point of view of his wife Penelope who has been left behind to wait for 20 years. It’s a short show with no intermission, the program says 80 minutes, but it seemed to me it was even a bit shorter, which is wise. There are songs that lay out the basic situation, and ones that address her feelings about being made to wait and dealing with the the hundred plus suitors who wont leave her alone. It all works, but as a one person show that really is just dealing with internal thoughts for the most part, 80 minutes feels perfect, anymore and it might have felt like treading water. There are a couple of well placed moments where Penelope interacts with with the Cello player, Rae Wasson, who plays the Goddess Athena and a Pilgrim which adds a little action, via interaction, to the show.

The music is really lovely played by five musicians under the musical direction of Harrison Wade who’s on keyboards. Are there any instruments more poignant or able to evoke such longing in your core than those of the string family? Christine Wade is wonderful as Penelope, as the songs grapple with the complexity of the character she runs the gamut of emotions. At times sorrowful at other times cunning, snarky, bitter, but always intelligent. And as should come as no surprise her vocal skills are perfectly suited for the show, it’s always a treat to hear Wade sing. Rae Wasson the Cellist must also be an actor, if not she might consider giving it a go. The interactions though brief between Wade and Wasson are so good, you are left wishing there were more of those moments. It’s not that the show needs them, just that Wasson’s line readings and response are so good that you want more.

Penelope runs through August 17th at the Elision Playhouse in Crystal. For more information and to purchase tickets go to https://www.elisionproductions.com/penelope

Triple Espresso Keeps the Audience Wired and Alert at the Plymouth Playhouse

Bill Arnold, Michael Pearce Donley, and Bob Stromberg Photo by Camille Branham – BTE Media!

Triple Espresso is a show I’ve seen signs and ads for seemingly my entire adult life. But, I’ve never seen it until now. Many of you will have seen the show, at one point it played annually for 13 years at The Music Box in Minneapolis. It hold records in cities across the world as the longest running show, it’s earned over $50 Million dollars in ticket sales and been seen by over 2 million patrons. How am I just seeing it now? Whatever the reason I’m glad I finally had the opportunity to sample the beans. For those in the dark, roasted the plot is a reunion of three guys who as far as I can tell never really even had an act, they just wound up in one disaster after another together. As they reunite on stage, they tell the story of their misadventures which we see played out in flashbacks. There is a fair amount of audience participation, get seats in the back corners if you you don’t want to run the risk of being part of the show. What I really enjoyed about Triple Espresso is that it’s the kind of show you can bring the whole family to. It’s clean humor, the jokes are nonstop and wide ranging from comedic magic tricks, songs, and even shadow puppets.

The show is being performed for the majority of the run by the original creators Michael Pearce Donley, Bob Stromberg, and Bill Arnold. John Bush, who has performed the role in Des Moines Iowa, will take over the role of Bobby in the third week and then be joined by his fellow Des moines castmates Patrick Albanese and Paul Somers on select dates. All six of the performers have done the show thousands of times all over the world, so if you can’t make it to the first three weeks, I’m sure you’ll be a good hands. It’s the sort of show that some people will laugh all the way through and then say that was sort of stupid. Well you know what? Try it. The jokes are funny because they seem to flow naturally and sure many are corny and seem like obvious plays on words. It’s like when a magician reveals how a trick is done, you are wowed as it’s happening and then once you know how it’s done you scoff at it because it seems so simple. So don’t ask how it’s done, enjoy the wonder and amazement you feel as it’s happening. Enjoy the laughs as they come and get caught up in the thrill of joining in with a group having a great time. If the jokes feel obvious once you stop laughing, don’t forget the part where you were laughing. It always looks easy when someone does something effortlessly, but believe me it takes creativity, wit, and practice to write and perform a show like Triple Espresso. It is the kind of show that everyone can enjoy and laugh at, but if having fun isn’t you cup of tea, skip it. I for one wish I’d brought all my grown children, siblings and parents with me. Or a group of friends, what a fantastic night out with loved ones this would be.

Triple Espresso runs through August 11th at the Plymouth Playhouse in (three guesses, the first two don’t count) Plymouth! For more information and to purchase tickets go to https://www.tickettailor.com/events/tripleespressoplymouthplayhouse/1084614#

Kinky Boots Makes a Splash at Lyric Arts in Anoka

Grace Hillmyer, Mitchell Douglas, and Erik Speegle Photo by Molly Weibel

Kinky Boots might just be the best thing playing in the Twin Cities area right now. Based on the 2005 film the musical features a book by Harvey Fierstein and music and lyrics by Cyndi Lauper, that’s a winning combination and it pays off big time. They provide the basis for the show but it’s the cast that really makes this show sing. I usually prefer to use production photos in my reviews, but I wasn’t provided one that really showcased the three outstanding leads Grace Hillmyer, Mitchell Douglas, and Erik Speegle. Speegle plays Charlie whose family shoe business, Price and Sons, is not how he wants to spend his life. After his father’s sudden death he has to return home to take care of business, only to find that the business is family but no one wants well made shoes anymore, they want cheap shoes. After a chance encounter with Lola, a drag queen played by Douglas, he hits upon the idea of making the titular kinky boots, based on a suggestion from Lauren, played by Hillmyer. Rather than close down the shoe factory the decide to try and save it by catering to a niche market, crossdressing men. Will they save the factory? Will the factory workers accept Lola as the new designer? Will they even accept Lola as a person? Even if I told you the answers you’d still need to see the show, it’s not about the story it’s about the message and the way it’s delivered. Director Vanessa Brooke Agnes has made the journey to these answers one well worth taking.

If there is a flaw with this show it’s in the script which should have given the character of Lauren, played by Hillmyer, more time. Hillmyer’s portrayal is so adorably quirky, everytime she gets the spotlight she sparkles but not in a flashy way it’s more of a twinkle. It’s hard to say what it is about the performance other than it’s great character work, it’s comedic, and vulnerable and undeniably endearing to the audience. She’s in love with Charlie who doesn’t get to sparkle, he’s the one with all the responsibility and Speegle, whose new to me does a nice job playing the straight man, though at times he seems a little unsure what to do with his hands. Where he gets to shine is whenever he sings, as good as everyone in the cast is, Speegle for my money had the best voice, possibly second to Daze Bishop who as George, the factory manager and part of the ensemble, only got a brief moment of singing on their own, but it was eye opening. Undoubtedly the star of the show is Mitchell Douglas whose performance as Lola sparkles in the flashy way that Lola would not have any different. Douglas moves as if he was born wearing heels and he nails Jaclyn McDonald’s choreography. In full drag costume he is stunningly beautiful, with attitude and confidence to spare. Then suddenly there are moments in his performance of vulnerability, it’s a remarkable performance and it deserves to be seen by as many people as can get tickets. Hats off to the entire cast but particularly to those playing Lola’s Angels, his backup drag queens, they have the moves down, and it was such a pleasure to watch their performances, they all were amazing.

It’s not often with my schedule that I even entertain the idea of seeing a show more than once. But Kinky Boots is one I’m seriously considering a second trip to see. The show runs through August 11th at Lyric Arts in Anoka for more information and to purchase tickets go to https://www.lyricarts.org/kinky-boots

The complete Works of William Shakespeare (abridged) at the Phoenix Theater in Uptown

The Complete Works of William Shakespeare!!!! Who’s got time for that? You say. Well honestly, everyone does. you see with some judicious cuts, the authors of this production Adam Long, Daniel Singer, and Jess Winfield have managed to cut the running time of producing all 37 of Shakespeare’s plays from roughly five days to a little under two hours, including an intermission. The amazing thing is that for such a large amount of cutting to the text, I struggle to identify what they cut. Of course I’m pulling your hypothetical leg, as I’m not so foolish as to assume that every reader does in fact have legs. I think even those with a small exposure to Shakespeare will be able to spot a few of the most blatant cuts, and those of us familiar with many of the plays will notice even more, I counted 12 cuts that I’m pretty sure were made? Possibly 13 but I couldn’t remember for sure if Big Bird was in Titus Andronicus or not. But fear not, whether a Shakespeare scholar, casual fan or not a fan at all, indeed whether limbed or not, you should have no trouble whatsoever enjoying this production. Unless of course you have lost, misplaced, or had the misfortune to be born without a funny bone. Funny bones, they’re not just for romantic comedies anymore.

This production of The Complete Works of William Shakespeare (abridged) is produced by Jackdonkey Productions and performed by Amanda Espinoza, Noah Hynick, and Adam Iverson and directed by Zach Christensen. Having just returned from the Great River Shakespeare Festival and seeing Hamlet and Much Ado About Nothing, it seemed like a great idea to see the rest of the plays. Now I can say I’ve seen all of the plays performed in the first seven months of 2024! Well… not really as it turns out. But I have seen one of the funniest Plays about Shakespeare’s works as I imagine I ever will. A detailed plot synopsis would involve the plots for all 37 plays, and I don’t want to spoil any of them in case you plan to see this show or any of the 37 plays on their own. So I’ll just say that it’s a show about three actors performing all 37 of Shakespeare’s plays. It’s an unimaginable task, which is where the humor lies. In all seriousness, it’s very silly, but the cast takes the silliness very seriously.

The cast is a dream, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, they do it all. The physicality of the performances adds as much to the humor as the script. I understand that improvisation is encouraged when producing this play, but having never seen it performed before I cannot comment on what’s added or changed. But I will say that the entire cast, particularly Espinoza, adds so much humor just by her body language and line readings, that it’s hard to imagine anyone performing the role of Amanda Espinoza better. To clarify the actors all use their real names, but I mean anyone playing the first actor or whatever they’re called in the script. Christensen’s direction and collaboration with the actors produces something manic with an energy that buzzes through the theater. And then, at one point Iverson stops and recites a soliloquy from Hamlet and it isn’t silly, and the energy changes. It’s a brief moment but I think it’s there to remind us, that as much fun as we are having with Shakespeare and at his expense, there is a reason we still produce his plays centuries after his death. It’s a wonderful little pause in the hilarity, and then we are right back to it.

Whether you love Shakespeare or don’t get him, this show is sure to make you laugh. For fans of Shakespeare it’s an especially fun night out. The Complete Works of William shakespeare (abridged) runs through July 21st at the Phoenix Theater in Uptown Minneapolis for more information and to purchase tickets go to https://www.ticketleap.events/tickets/jackdonkeyproductions/the-complete-works-of-william-shakespeare-abridged#